MARÍNA. It's not that you deceived me when you promised to marry me that hurts, but that you've left off loving. No, it's not that you've stopped loving me either, but that you've changed me for another, that's what hurts. I know who it is! NIKÍTA [comes up to her viciously] Eh! what's the good of talking to the likes of you, that won't listen to reason? Be off, or you'll drive me to do something you'll be sorry for. MARÍNA. What, will you strike me, then? Well then, strike me! What are you turning away for? Ah, Nikíta! NIKÍTA. Supposing some one came in. Of course, it's quite improper. And what's the good of talking? MARÍNA. So this is the end of it! What has been has flown. You want me to forget it? Well then, Nikíta, listen. I kept my maiden honour as the apple of my eye. You have ruined me for nothing, you have deceived me. You have no pity on a fatherless and motherless girl! [Weeping] You have deserted, you have killed me, but I bear you no malice. God forgive you! If you find a better one you'll forget me, if a worse one you'll remember me. Yes, you will remember, Nikíta! Good-bye, then, if it is to be. Oh, how I loved you! Good-bye for the last time. [Takes his head in her hands and tries to kiss him]. NIKÍTA [tossing his head back] I'm not going to talk with the likes of you. If you won't go away I will, and you may stay here by yourself. MARÍNA [screams] You are a brute. [In the doorway] God will give you no joy. [Exit, crying]. AKOULÍNA [comes out of closet] You're a dog, Nikíta! NIKÍTA. What's up? AKOULÍNA. What a cry she gave! [Cries]. NIKÍTA. What's up with you? AKOULÍNA. What's up? You've hurt her so. That's the way you'll hurt me also. You're a dog. [Exit into closet]. Silence. NIKÍTA. Here's a fine muddle. I'm as sweet as honey on the lasses, but when a fellow's sinned with 'em it's a bad look-out! Curtain. ACT II The scene represents the village street. To the left the outside of Peter's hut, built of logs, with a porch in the middle; to the right of the hut the gates and a corner of the yard buildings. Anísya is beating hemp in the street near the corner of the yard. Six months have elapsed since the First Act. ANÍSYA [stops and listens] Mumbling something again. He's probably got off the stove. Akoulína enters, carrying two pails on a yoke. ANÍSYA. He's calling. You go and see what he wants, kicking up such a row. AKOULÍNA. Why don't you go? ANÍSYA. Go, I tell you! [Exit Akoulína into hut] He's bothering me to death. Won't let out where the money is, and that's all about it. He was out in the passage the other day. He must have been hiding it there. Now, I don't know myself where it is. Thank goodness he's afraid of parting with it, so that at least it will stay in the house. If only I could manage to find it. He hadn't it on him yesterday. Now I don't know where it can be. He has quite worn the life out of me.